MISCELLANEOUS MISCELLANY—ONENEVERKNOWDOONE?

18 Aug

The only news here is why the Times waited to report this previously well reported information

Jon Stewart, Steve Colbert, John Oliver, Keys & Peele, Barry Crimmins are great but these guys paved the way

Brady Vs Goodell: Being paid 46 million dollars a year to front a 10 billion dollar a year enterprise doesn’t necessarily make you the worst person in the world. Right?

There was a time when Maureen Dowd was worth reading and I get that The Short Fingered Vulgarian is hot stuff currently and that you get clicks by mentioning him but any regard I had for MS. Dowd has vanished. She now completes the troika of to be avoided Times columnists.

Amazon is a white collar sweat shop and the New York Times did some good work presenting that—which is plain to see if you have the old fashioned attention span to go through its 5100 word reportt

Jeff Bezos, the fifth richest person in the world, of course, demurs.Perhaps you are not famiiar with business magbate BEZOS:

That Amazon’s so called fulfillment centers were literally sweat shops is old news

Two things (at least) to note are that the Times Amazon expose garnered 5100 (and counting)comments and it stimulated bloviating pundits to moral ideation

Meta item of the day

DISPOSABLE  FUTURES by Brad Evans and Henry Giroux

DISPOSABLE FUTURES by Brad Evans and Henry Giroux

From Disposable Futuresby Brad Evans & Henry Giroux

It was against twentieth-century forms of human dispos- ability that we began to appreciate the political potency of the arts as a mode of resistance, as dystopian literatures, cinema, music, and poetry, along with the visual and performing arts, challenged conventional ways of interpreting catastrophe. We only need to be reminded here of George Orwell’s Animal Farm, Alain Resnais’s Hiroshima Mon Amour, Bertolt Brecht’s The Interrogation of the Good, Max Ernst’s Europe After the Rain, and Gorecki’s Symphony No. 3 to reveal the political value of more poetic interventions and creative responses to conditions we elect to term “the intolerable.” Indeed, if the reduction of life to some scientific variable, capable of being manipulated and prod- ded into action as if it were some expendable lab rat, became the hallmark of violence in the name of progress, it was precisely the strategic confluence between the arts and politics that enabled us to challenge the dominant paradigms of twentieth-century thought. Hence, in theory at least, the idea that we needed to connect with the world in a more cultured and meaningful way appeared to be on the side of the practice of freedom and breathed new life into politics.

And yet, despite the horrors of the Century of Violence, our ways of thinking about politics not only have remained tied to the types of scientific reductions that history warns to be integral to the dehumanization of the subject, but such thinking has also made it difficult to define the very conditions that make a new politics possible. At the same time accelerating evolution of digital communications radicalizes the very contours of the hu- man condition such that we are now truly “image conscious,” so too is life increasingly defined and altered by the visual gaze and a screen culture whose omniscient presence offers new spaces for thinking dangerously. This hasn’t led, however, to the har- nessing of the power of imagination when dealing with the most pressing political issues. With neoliberal power having entered into the global space of flows while our politics remains wedded to out dated ways of thinking and acting, even the leaders of the strongest nations now preach the inevitability of catastrophe, forcing us to partake in a world they declare to be “insecure by design.”

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